Reviews (page 5 of 8)
The songs do have a nice creative touch but they all kind of merge into the same song, Personally not for me
anche lui senza infamia, senza lode
Not bad but not great.
2.7/uh i liked one track from the deluxe and i don't even think they made it, lol
this is just not really the vibe
Enjoyed
I had not heard of Heaven 17. After listening to this album I’m not sure there’s any reason that I should have. It’s not bad. But it’s not better than a dozen other bands that were doing the same thing at the same time.
Cool cover but didn’t bit the market
I thought I hadn’t heard of Heaven 17 before, but they apparently also sang Temptation (you know, that Cradle Of Filth song). Unfortunately, that banger isn’t on this album. I found this a bit of a difficult listen. It’s very synthy and has a big 80’s feel, but it’s also really weirdly orchestrated. Perhaps on a different day I’d have listened to this and loved it, but with today’s ears it fell a little flat. Also, these song names would fit right in on a punk album.
Gear: Focalman Cleardara Artwork: 🤝💼🏙️ Production: 🤔😐👍 Music: 🎛️🏛️💣 Rating: 💷💷💷/5
guys to bet in this genre on niiku petshop boys eli jos ei oo yhtä ihanaa musaa niin sit ei oo hyvä!
Good album, interesting lyrics, quite easy to dance to, but way too much 80s synthpop for me. It might be a seasonal thing, but I'm feeling terrible listening to those beats.
I’m just not a fan of the whole 80s synth pop era (there are exceptions but this ain’t one of them) and this is one of the worst forms of the genre, I didn’t hate it but it’s just not my thing, the lyrics are hilarious though.
Very fun album, lots of great moments
It’s ok but not really for me. Probably better to dance to than listen to on its own. Those hooks were very repetitive. let’s all make a bomb was the standout of the bunch for me. If you like Human League but arguably a bit edgier this might suit. Won’t be chasing this one down though.
Very 80s with some interesting sounds.
You have disturbed me almost to the point of insanity...There. I am insane now.
More like Eardrum Warfare. Brother, this album STINKS! Weird lyrics and beats all throughout and, not exaggerating, within 5 seconds of the first track I knew this would be garbage. 1/10.
This is a fun little record. Did not expect to see it on this list. It’s really pretty good, though. Smart, upbeat, and funny.
Not sure what this one is doing here Will I listen to again: 0%
Partially listened before Fa tracks: (We Don't Need This) Fascist Groove Thing, Play to Win
A very 80s, dancey, slightly risqué album that often sounded like a precursor to some of the big 80s bands. Probably set some tones for the decade to come. I didn't particularly like those tones though.
*eye roll* This album was more annoying than anything else. There are far more superior synth pop album than this.
Genuinely one of the most boring listening experiences I've had. This album had nothing of substance to offer me. Every part of my body wanted to skip every single track. 2/10
Ahhh, there’s something about the deep throated singing of British 80sNew Wave that irritates me on a deep level. There’s something neat mixing of disco and synth here and some nice bass work on the second last track, but overall an effort that leaves me asking : “Someone took up precious studio time for that?!”
Gotta be a 3 just for the bass alone!
This was the first group recommended through this project that I had truly never heard of. It was good- sounds like a precursor and/or peer to Kraftwerk almost?
Synthpop isn't really my thing, but seems with the passing of time it’s much better than I remember, and this was OK, no actually better than that. Yes it's very of it's time and sounds it, but so what even in it’s basic for now electronics it’s still real, no auto this and that, no mass homogeneous crap, so sod it 4 Star.
Not fun or interesting. With a little more effort it could have been mediocre
I’m always an optimist , however I didn’t like this album.
Why and how is this album on any list? I wish I could give a zero. Worser version of Human League
This is a staple for The Blue Oyster
Some hold decent funky, bass slapin, beboppin’ at the start of album. The last half was a disaster of early ‘80s cliche synth
Awful album.
Loved this album!
I like how funky the first two songs are, and the bit about the Democrats being out of power and Reagan being the facist god elect hits a little too close to home in these times, but this album starts falling apart from there for me. The third song sounds like the group just learned what a synthesizer was and every 4 bars they pick a different sound to play. It's very distracting and dissonant. The best song here is the title track, but the rest is repetative, too busy, and not enough of the bassist who is clearly the most talented one in the group.
Not really a fan, none of it really hit me in a way that I think good music should. No concrete reasons just a gut feeling.
Didn't hate it. Probably a 2.5. Rounded down because it doesn't really belong on this list.
Very funky. I love a band with a good concept and the whole fake brand thing is great. The cover really reinforces that.
Only one good song
There was no need to have this album on the list. It’s long, boring, and repetitive. I’ll be glad to never remember this album.
It's crazy to think that in the 70s, when synthesizers first started to widely appear in music, the prog bands got it right pretty much immediately, but the rest, for some reason, up until pretty much the 90s had... this... This album is fine, but it's early synthpop, and it shows. It feels more like a proof of concept than a mature work, which is weird since we had had good synths a decade before that. It's too minimalistic for my tastes, and the instrumentation feels a little dry, especially in the second half. It's very much a product of it's time.
Classic 80s pop, some good catchy melodies but it’s just too dated and cliché for me. That classic 80s vocal on show, synths, drum machines. It’s ok.
thankfully it’s only 38 minutes
Penthouse and Pavement is the debut album from Heaven 17, a British synth-pop group. Ian Craig Marsh and Martyn Ware were part of the group Human League until 1980; they added a few members and became the British Electronic Foundation. Heaven 17 started as a side-project; they recruited vocalist Glenn Gregory and changed their name for the release. The albums opening track, "(We don't need this) Fascist Groove Thing, was banned by the BBC for concerns that this may have slandered Ronald Reagan. The album was re-released as a self-titled work in the US, with this and two other tracks replaced with less political tracks, as a self-titled album. These are melodic, danceable tracks, with a unusual political bent. The album is an interesting example of early 80s dance pop.
Very futuristic and cool.
Nah, sorry. I don't hate it but I can't say I enjoyed it much. I find the synths a bit atonal. It all feels dated (and not in a good way as can sometimes be the case)
"Temptation" is their only real decent song and it's not even on this album. Do yourself a favor and go listen to Thomas Dolby or Howard Jones instead of these guys.
This was a surprising album- both in sound and duration. Actually found myself liking a lot of the songs- its an interesting blend of Synth pop / New Wave. I could see how this album influenced both genres
Muy divertido!
Not good by 1981 standards and definitely not good in 2025.
Weird 80s electronica, was not feeling this one
Electronic, fine for background
This is another that's fun, but I can't really see myself coming back to it. It was a good time though
OK-ish.
Niet goed, niet slecht. Gemiddeld 90’s album
Heaven 17's "Penthouse and Pavement" can best be described as having a flat sound, which is somewhat ironic considering the multitude of sounds and instruments featured throughout on the album. I anticipated the use of newer technologies would result in a richer sound experience, similar to what was achieved by peers like The Human League, Ultravox, or OMD. Instead, "Penthouse and Pavement" gives the impression that its musical layers have been compressed into a monotonous and unengaging sound by a steamroller. The album appears to be divided into two distinct sections: the first side is marked by synth-heavy R&B and funky riffs, while the second side leans more towards electronic synth sounds. Although I enjoy the 80s New Wave music scene, this album lacks a crucial element — memorable pop hooks that inspire to sing along, encourage movement and dance, or just make you want to listen over and over. While there are a few interesting moments on this album, there are many finer examples of 80s New Wave and Synth Pop out there to enjoy. I would not waste your time on this album.
Rad as hell.
This one ended up totally surprising me as a really fun listen. Like if Devo and Talking Heads banged and had a techno pop baby. Love the feel good vibe, really taps into the classic 80s vocal lines and instrumentation (wicked bass lines too) with some interesting lyrical themes. Feel like the album certainly could have cut down a bit, as it felt like a bit of a trek by the end, but overall cool, would serve as awesome study or chore music. Fav track: Play To Win
Thoughts before listening: I have never heard of this before. I am going to guess its some sort of British new wave band that didn't really breakthrough in the US. Chances are I will recognize 1 or 2 songs, but this album cover is not ringing a bell. Review: This is definitely interesting. The album starts out less new wave and more of like a disco/funk sound full of slap bass and horn lines with very repetitive singing on top, reminding me a bit of Talking Heads. I like this sound, and its certainly different than what I was expecting. The second half of the album is less appealing to me, coming off as rather generic sounding new wave music. The first half of the album is probably a 3-star rating from me, but overall this is 2-stars thanks to the second half.
A synthpop group from Sheffield (once home to a number of historically important nightclubs in the early dance music scene of the 1980s) that takes their name from a fictional pop band mentioned in Anthony Burgess's dystopian novel A Clockwork Orange. What about the music (?) you ask. OK, OK, don't rush me! Well, the music heard on 'Penthouse and Pavement' no doubt sounded like the future in 1981 to a bunch of forward thinking creatively hungry young people looking with excitement to the lives that lay ahead for them as they swayed to the new wave that was them as much as it was the music that was playing at nightclubs all over the west end & beyond. It's icy and unconventionally slick, it's hot & it's cold it probably sounded like it would age well when it first came out and while it's not timeless in any regard, it's still fun and makes me want to reread 1984- God knows why. So, to recap interesting electronic music not as good as The Human League but better than Alphaville which I suppose is faint praise. To me in 2025 this music ultimately doesn't do much. It's not bad and I get the appeal as I tap my foot to the nervous stop and go beat of 'The Height of the Fighting' but I can't really imagine playing it again nor do I find myself curious about their other albums that I'm assuming sound pretty much like this one. The cover art is likely an ironic poke at their own left leaning politics and looks like what the music would look like if the music within had a look - which sorta does to me - if that makes any sense. So, in conclusion this music (interesting as it is at times) is just not for me, but I don't hate it & no doubt will get and keep people moving all summer at various Hollywood retro nightclubs. Hot August nights, anyone?
Heard of 'em but never heard 'em until today. Delighted to read about them and learn more about the roots of Human League. Overall I like this very much and it's much better to me than most synth pop from the early 80s. However, it's weird to have this much bass virtuosity front and center for the first third of the album and for the bass player to be some random studio musician who was not considered a part of the band. I call this The Doors problem, where technically the band does not have a bass player but they have a session musician play some bass parts on their records and they end up being important to the music. Heaven 17 seems to have this problem worse than The Doors, however and it's also amateurish that it sounds like it's presented in the order it was recorded, and that they ran out of money for session guys after four tunes. I like it better than most 80s synth pop but it's not an accident that Human League is remembered better.
I like it that there's a bit of a string of unknown albums and bands right now in this collection. This one's definitely an oddball, but enjoyable in a *very* 80s/New Wave way, and with a surprisingly hard edge to the lyrics and more funk to the music than I would have expected, in kind of a Prince/The Time sense, at least on the "Pavement" side of the album; the "Penthouse" side isn't quite as fun (although "The height of the fighting" is pretty decent). And of course there's that fantastic UK/BBC-inspired album cover that succeeds in being very ironic. I'm not sure I could say I had many favorites on the album, largely because their style isn't really to my taste, but I enjoyed the opening track ("(We don't need this) Fascist groove thang"), and was disappointed to read that the BBC banned it from the radio because it might have dared to imply that Ronald Reagan was a fascist; hard to imagine that happening in 2025.... Interesting that they recorded this album alongside The Human League (I guess in part because two-thirds of Heaven 17 were formerly part of The Human League), as you can definitely see the connection. And kudos to them for the "Clockwork Orange" reference with the band name (Heaven 17).
I love the album cover and was disappointed to realize this wasn't a collab between Pavement and a group named Penthouse, which would have been so much more interesting... never liked that 80's electronic pop which peaked with Human League.
Oh well I admire the dance punk weirdness but I just didnt get anything out of this one
I have been getting really into Model/Actriz recently (super hyped for their new album), and I can definitely see how albums like this would lead to their style of music. I really like the verses of Fascist Groove Thang, but the chorus is a little weak. And that is kind of the problem with this album, there are some really creative funky parts, and then some kind of lame parts that kill the groove. High 3.
An inferior version of other things we've done that sound like this, and it's very dated.
Pretty forgettable, even the first track. To be fair, I'm pretty sure Spotify only brought me a truncated version of the album.
Like the band but not this album.
I enjoyed this. It didn't have the immediacy of something like the Human League, but it was interesting and fun.
Deepstate-underground-illuminati-nazi scientists have been studying this album since 1970 trying to harness it's supernatural amnesiac qualities. Yes, you read that right. 1970. This is the fifteenth time the album was released. It was just so potently forgettable on each previous iteration that everyone repeatedly forgot it existed - even the band.
Not really my thing.
Meh
breskt rafmagnsdanspopp. áhrif frá nýbylgjunni, líklega listaskólastrákar. ekki mikið fyrir mig.
5/10
Heard some Heaven 17 songs before. I really like (We Don't Need This) Fascist Groove Thang from this album. But the rest is? Eh really unimpressive. 2/5
I'm torn with this one, I appreciate the lyrics and what they're trying to get across, but the synth-pop-disco sound just makes me cringe. This is closer to a 2.5 for me, but I'll round up because they called out the fascist, Ronald Reagan.
1.33
This album was just ok for me. I am not a big fan of synth-pop and while there was nothing objectionable here, it is not something I would seek out to listen to again.
Extremely dated. There are some cool ideas in here but the execution falls short most of the time especially because the production isn't up to par with what I think they wanted to achieve, and the singing is just not that good. I did like "Penthouse and Pavement" and "Soul Warfare" enough to save them though so that's something.
Other than the first song, it left me a bit cold. But really into it
Really enjoyed this album but didn't expect to. Always considered H17 to be slick yuppie music and until now avoided. But couldn't have been more wrong, the title track has a real groove to it and is politically on point. I know at the time it was aimed at Reagan but unfortunately the song resonates even more now with Reform, Trump, Tate, Musk the list goes on. Great album and will definitely dip into again. An anti facist 5 star bonanza.
Pretty forgettable. At least it was short. 2/5 Won’t listen again
2 st
Early electronic
OK ok i am so hot and cold with this band, one minute i love them, one minute i am so bored and annoyed by them. Middle of the road
I can understand the influential nature of the album but not a big fan.
Goddamn. I could not be a fan of electronic music but I didn't like this album at all. The instrumental at times felt like it was created by punching a keyboard and the lyrics were so repetitive I was forced to skip some parts, and I'm a TOOL fan who's used to 15 minute long songs. (e.g. the outro to the last song couldve just been "I'm going to repeat this line for a very long time, for a very long time, for a very long time, for a very long time). This could have definetly been a revolutionary album at their times, but it's simply not for me
Did nothing for me. I imagine it hasn't aged well.
I'd like to say heavily dated, but surely this was never good? Doesn't even have the banger that is Temptation to salvage a second star from this shipwreck of an album...
The two highlights of this album were “Temptation” and a song by Blancmange which both autoplayed before I realised the album had finished. Enough said. Very of its time and won’t be getting another listen from me.
That's not my taste in music - boring
fun dinky synthpop tunes
The problem is that I cannot imagine anyone enjoying this record. It's new wave with the edges sandblasted down, it has left-wing lyrics packaged with such a glossy sheen they slide right over you.
falco dove sei?
3/5
Fascist Groove Thang // The Height Of The Fighting //
I only recognized the first track, the rest were some odd-but-fun 80's alternative electro-pop. Some fun weirdness.
Album 706 of 1001 Heaven 17 - Penthouse And Pavement (1981) Rating : 2.5 / 5 Synth-Pop two days in a row. Strange. Better than most of the other electronica I've heard but still just doesn't hit too hard for me. A lot of political related lyrics but it would take a closer listen to decide if that made any difference.
First half is kinda odd, leftist/anti-capitalist funk (some amazing bass here) with some synth-poppy elements, and back half is just kinda odd synth-pop (less funky, lacks amazing bass playing). I liked the first half more.
About 20 minutes is enough.
Some bangers that hit a lot harder today than expected.
Better than human league
funky & i quite enjoyed the song names
That was horrible.
Not for me
- Enjoy the first three tracks despite them not being my "thing," per se. Especially appreciate them calling out Reagan as early as 1981. - Definitely prefer the funkier "Pavement" half then the more electronic "Penthouse" half. - Was most impressed by the bass. Then learned that that was just a session musician they added...so take from that what you will.
If you like 80's synth pop, you'll love this. I don't.
Day417 - we need new wave again more than ever. synthesizers and lyrics that rage against the corruption and the fascists
Sounds great but didn't have "the song" on it. Low 4.
They're trying too hard to be New Order. But they are perhaps better than Happy Mondays.
2.8 - Maybe on another day I would have liked this but that day is not today
This was pretty sick. Hard to describe, it just scratches the right itch. Shades of Kraftwerk. Fave Tracks: (We Don't Need This) Fascist Groove Thang, We're Going to Live for a Very Long Time 4.5/5
This was okay. Didn't do anything particularly wrong except maybe being too long sometimes. It lacked a particular energy and overall felt fairly generic.
Definitely not something I needed to listen to!
A bit dated in sound but not in message
First two tracks good - rest were ok.
Definitely an influential album that wrote the guidelines for 80s pop with groovy basslines, zany vocals, and sci-fi esque synths. Song With No Name and Soul Warfare were my faves, but the album as a whole isn't absolutely groundbreaking.
Not the worst but still mediocre 80s British nonsense. Vocals, as usual, are a weak point. Some unique synth which may have been groundbreaking at the time. How many examples do we need of this same genre? 4.25/10 (2.125/5)
The best musician in the band is the bass player who's not even a full time member of the band. The lyrics are OK but the music is definitely dated. Just meh.
1.5
Not too bad but every song just repeated a bunch of lyrics at the end.
Ok płytka, taki typowy przykład futuryzmu lat 80. "Let's All Make a Bomb" kojarzy mi się z jakąś piosenką z Laboratorium Dextera, której teraz za nic nie mogę znaleźć. Ona też była przeróbką jakiejś innej mega znanej piosenki z lat 80-tych, ale nie mogę sobie przypomnieć niczego na jej temat. Będzie mnie to teraz męczyć, więc jakby ktoś z Was wiedział, o czym mówię, to dajcie znać koniecznie. Tak czy inaczej - dobry krążek, ciekawie skonstruowany. Zdecydowanie bardziej podoba mi się pierwsza część płyty, tam gdzie więcej mają groove'u i funku, te ostatnie mocno synthowe utwory już mniej mi się podobają. Przez chwilę nawet myślałem, żeby przez to dać 2 temu albumowi, ale to chyba dlatego, że byłem po całonocnym locie i byłem zmęczony. Ten album zdecydowanie zasługuje na więcej. Lewackie zabarwienie tego albumu też na plus.
It sounds like a parody of synth music that was put in a cartoon and I love it. Groovey as fuck.
felt like every song was repeating itself, boots and cats and boots and cats
Another album that has no business being on this list. This wasn't even the best album recorded in its studio, as the Human League was recording Dare simultaneously. And even Dare was average at best.
A new one to me, but it had a familiar sound in many parts. Reminded me of The The or other 80s English alt bands. Wasn't love, but I liked it.
I had never heard of this but it sounds pretty much how I thought it would: terrible 80s synth with lame singing and worse lyrics and something I absolutely did not need to hear before I die. Love the cover art, though! (ntm)
Más synth-pop británico de los 80, pues qué bien. Parece que el editor desconoce la existencia de otros países. Al menos las letras son interesantes, muy anticapitalistas.
Could of done without this album before I died. Now to hope its not the last album I hear before I die.
Some sensational funky basslines in an otherwise repetetive and bland album
The closest equivalent is probably DEVO. Some fun stuff on this album, but ultimately less cutting than that ground-breaking group.
Another garbage album. I got through 1.5 songs.
There was a time when if a song didn't appear to have any "real" instruments in it, I would snobbily shun it. Synths were fine if they supplemented or were accompanied by other instruments. Nothing lamer than Depeche Mode: watching well-coiffed meterosexual dudes dance in front of keyboards where they played mostly one note at a time to a preprogrammed artificial drum beat... blech! Of course, later I grew up and realized that art could be made with any kind of instrument, and by any kind of person. But there was also that important period where you imprint on music, in your teens and slightly beyond, when you're also going through social anxieties... and when you don't get invited to dance parties, you might start to resent all dance music. Not saying that happened to me, OBVIOUSLY, I was and am unceasingly popular, *ahem* ...but dance-y electronic-basic music was never something I listened much to. I came to appreciate the hookiness of some of those '80s songs that married electronic instruments with new wave jitteriness, and Kraftwerk and Neu! and others eventually became essential listening. But I don't think I ever thought twice about Heaven 17. I barely remembered that they existed. This is the first "essential" record on this journey where I've thought, "Did I miss something special... really?" Well.... meh, not really. I did dig the John Taylor stylings of the bass-player-for-hire on the title track, he went nuts at the end of that track! Duran Duran meets Level 42 with too much cocaine... Released in 1981 before "synth pop" really got heavily produced (this is the same year Depeche Mode's 1st album came out), you can expect the sequences and production to be somewhat rudimentary. There just don't seem to be hooks anywhere, though, that make me want to listen to any of this again. "...Very Long Time" kind of has a sing-along-able chorus I guess. What version are people listening to that's so long? This album is 9 tracks, folks. And for the endless stream of complainers? You don't have to participate. Don't listen to the record. Move on with your life. Sheesh.
Political 80s techno pop that gets really repetitive. I think every song had one sentence of lyrics and repeated for over 5 minutes. The 80s beats were pretty simple and not very tasty. Had potential to be something good but kind of just flopped. 3/10
Didn't know them before. It's quite interesting. Unfortunately, '(We don't need this) Fascist Groove Thang' is topical again.
Its got groove. But somehow it feels very small, the sounds feel very small, and the vocals seem very of. This is pretty bad.
this one i have listened to before taking on this project. it's a synthpop bundle of joy. very fun listen.
This is a wild ride. Fun for 1981.
Didn't wow me.
Some really funky stuff. Interesting the whole way through. I actually really liked it
Very 80's. The album cover is pretty funny. Not horrible. Short album, if it was any longer it would likely get old fast.
Is this a concept album? Kinda humorous
There is way too much 80s synth-pop crap in this list - maybe some catchiness on this record but I'll never listen again. Do all these bands have the same vocalist?
Awful stuff
Matige herrie
langweilig
Starts off strong but loses it's way, but some great stuff at times.
Eh
OK this is complete and utter garbage.
Great
I guess this was edgy in 1981. Just tedious now. I’d rather listen to Devo for this sorta thing.
Probably the most 80s sounding record on the list. I don't like it very much. This kind of music should be either catchy or mysterious. It's neither. It doesn't sound essential to me at all. It doesn't have their biggest hit Temptation. I didn't really have a favorite song. None of them stand out.
I tried. I can find a little bit of fun in it, but it’s just not my jam. 1
So 80s, so robotic, so… up tempo. The grooves are there, but I can’t help but think it would benefit from being slowed down by half. I appreciate the anti-capitalist themes and the sound is clean and compelling. I liked it more than I feel like I should have.
Straight 80s synths, with repetitive lyrics.
The lyrics are insane in the best way, but I'm now wondering how many bands in England sounded like the human league in the 80's.
Am I still on the 1001 Albums page...?
Don’t love it
Bem crítico, algumas dançantes, até que gostei
Wow I didn’t expect to like it but I love it. This is the first one I hadn’t heard of that I’m really excited by. Catchy, diverse, smart and satirical in a hopeful, moving way rather than a bitter, snarky one. Song with no name wow what a track, it’s like haunted proto pet shop boys. I will say some of the songs could have been served better with different mixing, especially let’s all build a bomb. Side note between this and Gang of Four and dagmar Krause it’s becoming clear that this list has a real political perspective it’s trying to share and I think that’s cool. I expected the purpose of the list to just be about exposing people to many styles of music but it’s actually more than that!
goodbye to the pavement, hello to the soul
Not usually my thing, but this had some cool moments. Little uneven, first half was definitely stronger.
Interesting music, does not sound dated..
I mean, this has aged tremendously badly I’m sure it sounded unique at the time but it’s a bit ripe these days
A synth album, cool! Read that a member was a past member of Human League, which is interesting trivia. I think this is an OK album, but not much more. The beginning of the album with 'Penthouse and Pavement', is decent, and so is the ending with 'The Height Of The Fighting' (which might be the best song of the album) and 'Song With No Name'. The rest was more of a necessary evil. Overall I find the beats a bit too much raw drum machine for my taste, and the album in general is decent, but not more. Weak 3.
This was a fun album. Felt a bit like a more disco version of Human League. A few tracks stood out, Penthouse and Pavement was a good track but the winner goes to "The Height of The Fighting". The rest weren't all that interesting. I like the general sound but found myself a bit bored. Strong 2 or weak 3. Listening again while writing this to "The height of the fighting" pushes it to a 3.
Completely unremarkable 80s brit music. Too much of this in the set.
I find this kinda lame. This list continues to mystify me.
Overall: 1/10 What a way to end the year. It blows me away that a group of musicians got together and decided to make this. The synths are annoying, the drums sound like crap and the vocals are so stuck in the 80s that they're wearing leg warmers. I wouldn't even bother with this one in any other context. Fav Song: Penthouse and Pavement Least Fav Song: (We Don't Need This) Fascist Groove Thang
I don't like this genre at all. This album went on for a very long time. For a very long time. For a very long time. For a very long time. For a very long time.
it was ok
The musical equivalent of a dot matrix printer.
yeah, not my thing,
The bass was my favorite part
Falling asleep just by looking at the cover... and listening to it put me in a coma shortly after. Snoozefest. Nothing interesting to note.
It's alright but it all started to sound the same real quick.
Groovy electro-pop that’s frankly got a bit too much going on and is just a bit of a mess. The opener (We Don’t Need This) Fascist Groove Thang is the clear highlight, and LCD Soundsystem’s cover of it is better anyway
Ah, 1981. Une époque bénie où les groupes de musique se détestaient avec une passion qui forçait l'admiration. On n'envoyait pas des SMS passifs-agressifs, on claquait la porte pour aller former un groupe concurrent, histoire de bien montrer à l'autre con qui était le patron. Et en matière de divorce fracassant, la séparation de The Human League se pose là. D'un côté, le chanteur Phil Oakey, qui garda le nom et partit conquérir le monde avec les tubes pop de "Dare". De l'autre, les architectes sonores, les cerveaux électroniques Martyn Ware et Ian Craig Marsh, qui, vexés comme des poux, fondèrent Heaven 17. Leur premier album, "Penthouse and Pavement", n'est pas juste un disque. C'est une déclaration de guerre, un manifeste et c'est surtout un disque complètement schizophrène, à l'image de son titre. La pochette : d'un côté, des businessmen proprets et ambitieux (le Penthouse), de l'autre, des prolos rebelles et arty (le Pavement). Cette dualité, c'est l'ADN même du disque. La Face A (sur le vinyle d'origine) est l'album "fini", la vitrine pop, la tentative de prouver au monde (et à leur ex-chanteur) qu'ils pouvaient aussi écrire des tubes. Et quels tubes ! C'est froid, c'est dansant, c'est intelligent. C'est de la synthpop pour les gens qui ont un cerveau. Cette première face est une collection de singles potentiels, une démonstration de force de ce que le futur de la pop pouvait être : électronique, engagée et terriblement chic. Et puis... on retourne le disque. Et là, c'est une autre histoire. Bienvenue sur le "Pavement" et fini les structures couplet-refrain, fini le vernis pop. Ici, on est dans le laboratoire, c'est la partie expérimentale, le terrain de jeu où Ware et Marsh laissent libre cours à leur amour pour les sons synthétiques bruts, les rythmes déstructurés et les collages sonores. On est plus proche de Kraftwerk ou de Cabaret Voltaire que de Duran Duran. C'est plus aride, plus difficile d'accès, ça sonne parfois comme une démo, comme une collection d'idées jetées sur bande. Au final, "Penthouse and Pavement" est un disque plus intéressant qu'agréable. Son intérêt historique est immense. Il capture un moment charnière où la synthpop hésitait encore entre la conquête des charts et l'expérimentation avant-gardiste. C'est un document fascinant sur la créativité de deux pionniers de la musique électronique. On entend les fondations de tout ce qui allait suivre, de la new wave la plus pointue à la techno. Mais est-ce que c'est un album que je mets sur ma platine pour passer un bon moment du début à la fin ? Franchement, non. La Face A est brillante, mais la Face B demande un effort, une concentration qui n'est pas toujours récompensée. On a l'impression d'écouter deux disques différents collés ensemble. L'un est un costard bien coupé, l'autre est une salopette de travail pleine de cambouis. Les deux sont de qualité, mais ils ne vont pas très bien ensemble. À l'époque, j'étais gamin, mais quelques années plus tard, en découvrant la new wave, ce disque m'a fasciné. Il avait un côté "cérébral" qui le distinguait de la masse. C'était la preuve que les synthés n'étaient pas juste des jouets pour faire danser les filles, mais de véritables outils de création, capables du meilleur comme du plus abscons. C'est donc un album que je recommande chaudement... aux curieux. À ceux qui aiment comprendre comment la musique se fabrique, à ceux qui aiment les disques qui posent des questions plus qu'ils n'apportent de réponses. Pour les autres, ceux qui cherchent juste une collection de tubes parfaits, je leur conseillerais plutôt d'aller voir du côté de "Dare" de The Human League. Un 3 sur 5. C'est la note parfaite. La note d'un album à moitié fini, à moitié expérimental. Un disque bancal, frustrant par moments, mais absolument essentiel pour comprendre la richesse et les contradictions d'une époque formidable.
When the people who try really hard to rate albums well and even go as far as to list songs they liked can't even find a good selection, you know the album is shite. Sorry to Heaven 17, who I am sure made waves somewhere, but no thanks.
- Better than expected; remember to put this one in it's proper context. -
Never heard of these folks. I love the song titles. Very synthie. It isn't something I would seek out to listen to, but this album is growing on me as it goes on. Kind of a post Krafterk, but somehow nerdier. We'll, I'm glad I heard it. It gets a 3.
I'm generally a big fan of 80's synth pop, but this album served as father for contemplation about why I enjoy some of it and don't others. Had never heard of these guys before and I feel like it doesn't stand shoulder to shoulder with some of my favorites from this genre. It a'ight.
This one was just ok. I did wonder why it was on this list.
This is a cracking album with excellently crafted synth-pop with judiciously added instrumentation and backing vocals - and with a political edge to it that caused the lead single to be banned by the BBC. The original vinyl finished with a lock groove - though I only have the album as a digital copy after my vinyl copy was lost in a burglary. I think most of the contemporary music critics would have backed Ware and Marsh (with new recruit Gregory) over the remaining members of The Human League but in fact both bands were very successful.
The cover artwork of Heaven 17's Penthouse and Pavement presents a striking visual commentary on the rise of yuppie culture and capitalism. The design is both bold and ironic, encapsulating the duality of aspiration and reality. However, while the concept is intriguing, the execution may feel somewhat dated to contemporary audiences. The logos and text add an additional layer of meaning but can also clutter the visual impact. Overall, it's a thought-provoking piece that captures the essence of its time but may not resonate with all viewers today. Album artworks rated: 8/1001 Music's actually not that great..
Thankfully only 5 of the 9 tracks were available to stream on Spotify. That's 15 minutes of my life I don't need to waste on shitty electro new-wave.
It's because of albums like this that I've been on 1001albunsgenerator for 227 consecutive days. Discovering gems like these on a Thursday night is priceless. The album has a very creative sound, built on funk grooves. 38 minutes very well spent! Great lyrics. The vocalist sounds like Ian Curtis had joined a disco band. I don't usually give 5 stars to a newly discovered album, but today, I'll make an exception.
Idc
The first half is pretty good
You can see the beginnings of absolute stone-cold smash "Temptation" in here, but there's a lot of "we've got a new synth and are going to use ALL the functions" here too.
One of the best type of entries on this list - a surprise banger.
Liked it more than I thought I would
This album should not be on this list. Lost me at first song. Don’t need a bunch of Brits lecturing about US politics and redefining the word facist.
Why repeat so much
this was dumb 80's synth pop. Nothing special, boring, repetitive, mildly annoying. Bleh.
ugggghhhh. why??? tracks repeat the same refrain over & over, vocals are weak, and it's early 80's overly synth "music". 1.5 stars if possible.
It has 'Fascist Groove Thang' on it...that's worth a boost at a minimum.
Annoying.
https://photos.app.goo.gl/V348yLxRHFDvpZAA9 But seriously, this album slaps - I only know the singles, but even they were longer and funkier than I remembered, so I probably only know the radio cuts? It sags on a few tracks, but overall, this was great, and brought back a lot of memories of seeing them live.
Classic of the New Romantic period. Still stands up pretty well. I can still see your mum dancing to this when we first met 😊
When I first listened to this album in my first run through the List, I had this down as 'awful 80s synthpop nonsense, with the exception of the title track'. I will admit my views have softened on this now, to merely 'staid, samey 80s synthpop with the exception of the title track'. Don't get me wrong, 'Penthouse and Pavement' is great, but the album of the same name is definitely going in the 'no thank you' pile.
Some catchy pop grooves, so I can undertand its appeal; I'm just not a fan of pop, especially drum machines. Too much synth for my liking.
This was a very good listen. Not sure if I’ll revisit but a ton of interesting compositions at the beginning of the electronic music boom.
The problem with listening to a bunch of 20 something's lyrics on capitalism, greed, politics and social issues is that, in retrospect, they're mostly naive bollocks. Does the music compensate? Nope... "Let's All Make a Bomb", you succeeded beyond your wildest dreams with this howler! 1/5
Didn't know of this offshoot. Seams like a coked up version of Human League.
Fun music. Surprised there weren’t any big hits off of the album. Just a regular pop/ dance album though.
This album was only 5 songs / 22 minutes. And it felt like an eternity. I did like the anti facist message though.
Not a fan. Not as bad as I thought it would be but not good.
Favorite Track: Play To Win
Enjoyed it decently enough for a synth-pop album. One song was straight-up a Buzzcocks song, though I don't know which one came first. 6/10
**An ok album. Nothing exciting. Many tracks sound the same.
Quite juvenile. Early 80s synth pop with weak lyrics and political undertones. I think Let’s All Make A Bomb (hard to believe this is the best song) is what got Penthouse And Pavement on the 1001 list. (2.4*s)
Wow, ok, so three teenagers just discovered tape looping and got their hands on a synth... why is this even on the list? There's way better SynthPop out there. This could not be more 80's and it did not age well. Overuse of cricket-leg chirping sound on every song, it's damn right annoying. The lyrics are weak, songs all sound the same, horrible production choices, then add politics? Whattt. Don't even get me started on the cover art. "Groove Thang" wasn't even groovey. ::boy plays rubber band, add machine gun sound effect:: 1.55 if I'm being generous.
I can't say a lot about this album and not sure it's a must listen but I did like it. A bit of a Gary Newman sound from this Krafty crew. Nothing ground breaking but "I'm Your Money" is a good one. Another one is expect Uncle Rick to have in his collection. Intrigued enough to check out their second album...2.9.
There's something endearing about 80's synth pop for me. No matter how cheesy it gets there something about it that brings me positive vibes. I wasn't sure what to expect from Heaven 17 and was mostly pleased with the results. Penthouse and Pavement is an OK album. Side A (Penthouse) is admittedly better and more fun that Side B. Title track was the best song. Never heard of these guys but I guess I'm glad I was exposed even if its just another brand of 80's electropop that is mostly forgettable that will pop up every now and then. 2.38 stars
The most interesting thing about Penthouse and Pavement is that Heaven 17 really seems to hate fascism. Me too, boys! Otherwise this is 80s synth pop. Pretty cold. 3.9/10
Hasn’t aged well but some little nuggets of good ideas tucked away in some songs
If Devo and the Talking Heads had a baby and raised it on The Human League. I honestly didn't (and still don't) know what to make of this. Innovative, for sure, especially for its time. Frenetic at times, lacking direction, and yet in its own way feeling pretty cohesive in style and form. It's all over the place in a way that's almost charming and sometimes slightly frightening. If these sound like contradictory or vague lines of a review, it's because they are. This is definitely a difficult album to nail down in one listen, and I regret that that's all I gave it. Three stars. Standout Tracks: Penthhouse and Pavement, Soul Warfare, Let's All Make a Bomb, We're Going to Live for a Very Long Time
Appropriate opening song. The rest was not my thing
not for me
Итс окэй. Мутант-диско в концептуальной обертке. Хорошие, доступные песни. Может понравиться больше после нескольких прослушиваний. Лучшая песня - Let's All Make a Bomb.
A bit too political for my tastes.
Skipping this new wave offering...
This was okay best. Nothing really stood out and I was counting down the songs until it was over. 2/5
## In-Depth Review of *Penthouse and Pavement* by Heaven 17 Heaven 17's debut album, *Penthouse and Pavement*, released in 1981, is a seminal work that combines innovative electronic music with sharp political commentary. This review will delve into the album's lyrics, music, production, themes, and its influence on the music landscape, while also discussing its pros and cons. ### **Lyrics** The lyrics of *Penthouse and Pavement* are marked by a blend of social critique and personal reflection. The album opens with "(We Don't Need This) Fascist Groove Thang," which critiques capitalist structures and societal oppression. The song's catchy melody contrasts sharply with its serious message about the dangers of fascism and corporate control. Lines like “Evil men with racist views” highlight the urgency of political awareness during the early 1980s. Another notable track, "Soul Warfare," presents capitalism as a game where the stakes involve one's very soul. The lyrics convey a sense of spiritual desolation amidst the pursuit of wealth: “My strategy is clear, my soul is there for the taking.” This theme resonates throughout the album, showcasing Heaven 17's commitment to addressing socio-political issues through their music. The closing track, "We’re Going to Live for a Very Long Time," juxtaposes a seemingly upbeat melody with darker undertones about fanaticism and moral absolutism. The repeated refrain creates an unsettling atmosphere that lingers long after the music stops, emphasizing the album's exploration of complex themes. ### **Music** Musically, *Penthouse and Pavement* is characterized by its innovative use of synthesizers and funk rhythms. The album showcases a unique blend of electronic pop and R&B influences, creating a sound that was both futuristic and danceable. - **"Penthouse and Pavement"** features a funky bassline that draws from American R&B traditions, setting the stage for the album's exploration of class disparities. - **"Groove Thang"** stands out as a subversive dance track that challenges listeners to consider the implications of its upbeat sound against its critical lyrics. The production employs a variety of synthesizers, drum machines, and layered vocals, creating a rich sonic tapestry. The use of female backing vocals adds depth to tracks like "Play to Win," enhancing the overall groove while maintaining a politically charged atmosphere. ### **Production** The production quality of *Penthouse and Pavement* is noteworthy for its time. Recorded primarily in Sheffield during an era when many studios were struggling to keep up with technological advancements in music production, Heaven 17 managed to create an album that felt polished yet raw. Martyn Ware and Ian Craig Marsh, former members of The Human League, brought their expertise in synthesizer technology to the forefront. Their collaboration with producer Mike Howlett resulted in a sound that was both innovative and accessible. The album's mixing allows for clarity in both instrumentation and vocals, ensuring that the lyrical content is not overshadowed by the music. ### **Themes** The overarching themes of *Penthouse and Pavement* revolve around class struggle, capitalism, and social justice. The title itself reflects this duality: "penthouse" symbolizes wealth and aspiration, while "pavement" represents the harsh realities faced by the working class. - **Capitalism vs. Socialism:** Many tracks critique capitalist ideologies while advocating for socialist principles. The lyrics often reflect a desire for social change amidst economic hardship. - **Personal vs. Political:** While much of the album focuses on societal issues, it also delves into personal struggles within these contexts. This duality allows listeners to connect on multiple levels—both emotionally and intellectually. ### **Influence** Released at a time when synth-pop was gaining traction globally, *Penthouse and Pavement* helped shape the genre's evolution. Its combination of catchy melodies with politically charged lyrics set it apart from contemporaries who often focused solely on superficial themes. Heaven 17's approach influenced later artists who sought to combine dance music with meaningful content. The album's impact can be seen in subsequent works by bands like Depeche Mode and New Order, who also explored darker themes within pop frameworks. ### **Pros and Cons** #### **Pros** - **Innovative Sound:** The fusion of electronic pop with funk elements creates a unique listening experience that was ahead of its time. - **Political Commentary:** The incisive lyrics address relevant social issues, making it not just entertainment but also a vehicle for critique. - **Cohesive Production:** High-quality production values enhance both the musicality and lyrical clarity throughout the album. #### **Cons** - **Commercial Reception:** Despite its artistic merits, *Penthouse and Pavement* did not achieve significant commercial success upon release compared to other synth-pop albums of the era. - **Accessibility:** Some listeners may find the political themes too heavy or distracting from enjoying it purely as pop music. - **Niche Appeal:** The combination of avant-garde sounds with political lyrics may not resonate with all audiences, limiting its broader appeal. ### Conclusion In summary, *Penthouse and Pavement* by Heaven 17 stands as a landmark debut that skillfully intertwines innovative music with profound political messages. Its exploration of class struggle through catchy melodies ensures its place in music history as both an artistic achievement and a cultural commentary. While it may not have achieved immediate commercial success, its influence on subsequent generations of musicians remains undeniable. This album is essential listening for anyone interested in the evolution of pop music during the early 1980s or those seeking deeper meaning within their musical experiences.
Synth pop With a cutting edge wish it was something people would do now.
This is a strong representation of English synth-pop/new wave from the early 80s. https://open.substack.com/pub/richcain/p/penthouse-and-pavement-by-heaven?r=4ztyq&utm_campaign=post&utm_medium=web&showWelcomeOnShare=true
Good if you have trouble sleeping, crap for literally anything else.
# Album Name: Penthouse and Pavement # Artist: Heaven 17 # Rating: 2/5 # Comments: This album starts of with two crackers with groove thang /Pent and pavement. Apart from that, the album progressively gets worse from there. I had high hopes for this because Temptation was one of my fav songs of the 80s. Alas, it was not meant to be. # Top Tunes: groove thang and Pent and pavement. # Would I listen to it again? No, just the first two songs.
Groupe inconnu. Sur les premiers morceaux les lignes de basse très funky sont intéressantes et les chorus variés également. Par contre les sons de synthés ont plutôt mal vieilli. La deuxième partie est très (trop) différente, entièrement électronique. Des morceaux sont vraiment pénibles, comme "The Height of the Fighting" avec des parties vocales vraiment mauvaises. Je ne l'écouterais pas une seconde fois. =>2/5
I can thank the GTA series of video games to introducing me to Heaven 17. Penthouse and Pavement was in GTA Vice City Stories and I immediately enjoyed it. I went out and bought this album on CD not long after it and fell in love with it. It's by far their best album and completely envelopes the entire New Wave Synth-Pop song with some very funky bass playing thrown on top of it. Bonus points: The lead singer looks like an adult Draco Malfoy in the video for the title track. lol Must listen to songs: (We Don't Need This) Fascist Groove Thang Penthouse and Pavement Soul Warfare (check out the awesome bass solo in this one!) Let's All Make a Bomb Essential New Wave album. Rating 4/5. Not a 5 because a few of the songs are boring and I skip them even after trying to make it through them a few times. (I'm looking at you Song With No Name.)
Ätzendes Album. Total nervig.
Starts off as fairly straight pop, but quickly moves to experimental pop. Worth it just for the intro to Geisha Boys and Temple Girls.
I weirdly enjoyed the first half of this, felt like the missing link between 80s pop and 90s dance, the songs developed in interesting ways, had lots of little hooks. The second half was a bit more monotonous and less clever and I found myself zoning out a bit. I think it balances out to about 3.5 but more a 3.
I think I listened to this, and then forgot I did, so when I listened again for this list, everything was nice and familiar. Admittedly a lot of the songs sound the same (Geisha Boys and Temple Girls, Play to Win...) - I think this might be because the songs all have a similar tempo. However, really, really like it. We Don't Need This Facist Groove Thing, Play To Win, Soul Warfare, Geisha Boys and Temple Girls, and Let's All Make A Bomb is such a strong run - deserving 5 stars for that alone. Bit long?
Hmm..... Somehow very 80s but equally quite unique. I'm not really sure how to rate this, was pretty interesting in parts. Didn't realise this was the guys who did temptation until Spotify played it after the album. I'm going to sit on the fence and say it's on the 2.5 side of 3
I don’t know, this is a tough one.
Two days before the election in the US and that first track is feeling a bit close to home. This is a really good synth pop album
Flock of Dodos
Knew I would hate this before I made it to the 2 second mark. Dirt-mall bootleg Depeche Mode here, complete with a Dave Gahan impersonator for a singer. No, thank you.
I really wanted to like this, but it was as if they were trying too hard. They wanted to experiment with different things, liked it, and then stacked everything on top of each other. The bass player had some funk! 2.5/5 rounding down as I believe there are examples from the time that were doing similar things in a better way.
Fascist groove thing is great. Title track wriggles into your ear insidiously over 6 minutes with fantastic slap bass. Some weird stuff. Good album.
I think I don't get it.
Yuk....
OK, I genuinely enjoy a little synthpop now and then, but one "little" is fairly important there, and these songs were often too long and too repetitive.
Pretty interesting political rock. It didn’t grab me but I enjoyed it. I’m glad it was a short album.
Not bad. Great example of early 80s new wave
As a preface I enjoy synth pop but in very small doses. I do like the songs that have some fun and soul influence, some nice bass lines. However, many tracks go overboard with synthesizers, which might have been innovative once, but now comes across as excessive or repetitive for me.
Groove Thang is the highlight here. And I felt faint shades of Devo in terms of some humor on a couple tracks, which helped. I think the humor was intentional. It was kind of fun.
I liked Groove Thang. The rest of the album really scratched an 80s itch for me.
Not sure what it was about this, maybe it hit me in the right place at the right time, but I really dug it. Very date in a way that's ALMOST funny. But that's not a knock on it, because it's still good even though it's so dated. I'd listen to this one again.
Finally, music for yuppie socialists.
Almost like synth funk. Weird but I liked it.
I love synth-pop, but this album went nowhere. Early Human League could've easily taken this album's spot. It's a shame that 20% of this must listen list is crap and notable albums are left off. Oh well.
Was not engaged with this one at all.
This band has a sociopolitical bent that is reminiscent of Midnight Oil in places. But that would’ve been easy to lose in all the synthpop if they hadn’t opened with such a strong track about fascism that one could easily hear being played at (or about) current political rallies.
What started off as all right became intolerable, and I was openly mocking it by the end. Unsuccessful second listen.
Not my thing at all. I'm sure their mothers think they are very talented. Perfect candidate for a 2.5*.
You can only listen to 5 songs on Spotify, and even less on Youtube. Lets go, less songs for me to listen to. Pretty 80s with some catchy repetitive choruses, but some more adventurous sounds that don't always hit. High 3. Edit -- Not a high 3
Wayyy too long, it seems like they r trying to be a little bit of LCD soundsystem wannabes(maybe or maybe I am just not clocking this right). Feel like there was some variety at the beginning but as it went on I was more and more over it.
6/10 - There was some interesting background parts but the lyrics were weird. Definitely an interesting album but not something I am likely to come back to.
Wasn’t expecting a lot when I saw scritti politti in their related artists. It was still bad
I'm not a big fan, but I can see where others might be. The bass lines were especially fun.
Pretty dumb. Listening to Yazoo instead.
I love "Fascist Groove Thang" so much, but this album was kinda patchy too.
This album should serve as a reminder that just because a band was a "pioneer" in a genre does not mean their music will hold a flame to anyone they served as an influence to down the road. There's some interesting production choices on this album and for 1981, it was probably revolutionary, but by today's standards, it's an exhaustive listen. By the end of it, my jaw hurt from clinching my teeth... hardly a 1/5
Not great, Temptation must of been a one hit wonder
It was okay.
This is what the 80's sound like in movies made about the 80's.
With increasingly timely and prescient fashion, Heaven 17's Penthouse and Pavement continues to glitter and glisten with its ugly overtones masquerading under bombastic electronic dressing befitting of its time. The decision to leave the ascendent Human League and start a new partnership, as depicted on the album cover, would pay off in dividends that would appear over time for Martyn Ware and Ian Craig Marsh, being flanked by a game Glenn Gregory. Come for the well tailored suits and slicked back hair, stay for the grooves and Kraftwerk indebted instrumentation. Favorites: (We Don't Need This) Fascist Groove Thang, Penthouse and Pavement, Play to Win, Soul Warfare, Let's All Make a Bomb, Song With No Name, We're Going to Live for a Very Long Time, Are Everything (12"), I'm Your Money, Decline of the West, Honeymoon in New York.
Dated shit.
Ok, I’m taking it out on this piece of subpar garbage. This has been a shit week for albums (bar one day) can I get something not from the bargain bin of music history please?
No me ha conquistado
Favourite track: Geosha Boys and Temple Girls.
Kind of protesty and not very good.
The cover art alone is worth the pick today. Some super funky lines. This gets annoying after 3 or 4 songs into the album. I am done with it.
Pretty fun and entertaining. Quirky, authentic, committed to its specific kind of art. At some points, it's just super weird if you examine too closely. This is album is a clown. I don't hate the effort, I actually commend the devotion, I just find it unsettling.
Spotify is missing several tracks from this album; was able to find it on YouTube. Funky bass. Had me moving and grooving. 4/5 Highlights: Penthouse & Pavement
Extra star for being mercifully short. Otherwise this was trash
Not too bad, synth beats used in a quite funky and playful way. Some tracks are quite repetitive (the last for example) and abit boring.
The first half was kind of decent, but the second half was just banger after banger
I listened to this album twice through, and on the second listen I was jamming out to nearly every song. There's just something about this one that worms its way into my mind and DANCES! There seems to be a through line of rebellion, or at least anti-establishment sentiment. Bleak lyrics, but amazing music, nuclear destruction, religious Armageddon, lives being ruined by the words of a powerful man. But somehow, it still feels hopeful. It's so hard to pick favourites as each song does something so interesting, but Geisha Boys & Make a Bomb are my top two. But Height of the Fighting and Soul Warfare just worm their way into my brain so it's really quite impossible to pick my favourites Favs: Geisha Boys and Temple Girls, Let's All Make A Bomb, The Height Of The Fighting, Soul Warfare
This is not my favorite genre - but if we’re at least catchy it could be enjoyable. New wave electronic pop bores me. It’s fine, I have heard worse on this list of records to listen to before I die.
I understand the hate this album gets, but it's actually surprisingly inventive. I was shocked that some of these electronic sounds were coming from the 80s and not the 2010s. It's definitely a product of it's time vocally though. Best Songs: Penthouse and Pavement, Let's All Make A Bomb Worst Songs: Geisha Boys and Temple Girls, We're Going To Live For A Very Long Time
only redeeming factor was the funky bass in the first few tracks
Loved this - and surprisingly (possibly depressing if you think about it) relevant lyrics for now. We don’t need this fascist groove thing indeed.
Not a big fan
Been bouncing around with my opinion here for while, between abstract appreciation, actually liking and then hating this but ultimately, it's a Hell, No from me. First track is good (seriously love the synth chord progression and its timing) and then I can cling to the bass 'n funk for some more, but it gets progressively worse as those tunes somehow seem to slow time and, while they're dragging on forever, reveal how it's really just some New Wave bros childishly (for better or worse) playing with new music technology. And I positively didn't need to hear this.
Shitty Depeche Mode and 80s synth. Why is this here, 2*
I imagine them all in a basement just giving and the vibes were immaculate
I think criticism of this record is just wilful ignorance. Here is a group whose appropriation of the synth-pop genre served as a kind of revolutionary entryism to the charts, and a valuable critique of Thatcherite yuppy culture before it had even fully flourished. Whatever you think of this album, Heaven 17 were conceptually light years ahead of so many of their contemporaries. Undeniably the production has aged somewhat, but the bass chops provided by John Wilson on side 1 are nothing short of sublime, and the notion of incorporating a satirical put-down of a fascist movement that was a real threat in this country into a pop song is exactly the sort of statement that elevates this group and this album above the pack. Singer Glenn Gregory embodies every bit the snide 80s wheeler dealer persona, hammering home the absurdity of Thatcher’s social Darwinism in a way that deserves a far greater analysis than what I’m going to offer here (although the fact that this record DOES deserve that analysis in the first place is testament to its objective importance). People seem to be dismissing it on the most superficial terms. That being said, there is one area where the record arguably falters somewhat. And it’s an important one: the songs. Some of them just ain’t that great. Others, most certainly are. But for that reason I’ve been oscillating between a 3 and 4 star rating. Ultimately, I think this album is a rewarding listen, and deserving of its spot on this list. Heaven 17 took the most pioneering elements of its Human League progenitor, without compromising their social consciousness. We Don’t Need that Fascist Groove Thang more than ever now…
Well, another grower. I suspect that some of my preferences and surprising discoveries here reflect when I grew up and first got in to music. I confess that Heaven 17’s ‘Crushed by the Wheels of industry was the first single I ever bought. Not sure why. Never had anything else by them. Listened multiple times today. Torn between a 4 or a 5…
Groovy ahh '80s synthpop. Kinda liked it in some places
Worthless! One of, if not the, worst things I’ve listened to for this project. It’s not popular, it wasn’t critically successful, it’s not influential. It’s just some album the guy who made this list listened to and kinda liked and he needed to fill 1001 spots so thought “sure.”
Surprised there are so many new wave albums on this list. I don't dislike Heaven 17. It's fine. Just makes me want to see the album selection process.. like what didn't make the cut and why? Also, it seems like the albums are at random.. I'd like to see where exactly this album falls compared to others. 2.5
Jezus… het begon wel geinig… maar daarna werd het echt te taai. Eentje die er echt niet op hoort
That was a big slap of 80s fun in the face! 3.8
So glad this was only a 22 minute album because I could hardly handle it. Listen again: no Purchase for my collection: no Favourite Song: nonw
One of the 80s synth pop albums of all time (2.5/5)